Sennheiser EW-DX 835-S Wireless Mic
Sennheiser·Model EW-DX 835-S·sennheiser-ew-dx-835s
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Sennheiser EW-DX 835-S
The EW-DX 835-S set pairs Sennheiser's EM 2 half-rackThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. dual-channel digital receiver with two SKM-S handhelds carrying the workhorse MMD 835 capsule, covering two vocalists from a single rack slot. The equidistant frequency grid packs up to 146 channels in standard mode, and the rear RJ45 takes PoEPower over Ethernet — the network cable powers the device (stage boxes, personal mixers, access points). One less wall-wart to lose. power and Control Cockpit remote management while audio leaves on two balancedCarries the signal on two wires and cancels whatever noise both pick up — why mic cables can run hundreds of feet hum-free. XLRsThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. (+18 dBuA voltage unit for analog signal levels — pro line level is +4 dBu. Useful for matching one box’s output to the next box’s input.) or two unbalancedA single signal wire plus ground (guitar cables, RCA) — collects noise with length, so keep the runs short. 1/4" outs (+12 dBu). Note this standard set has no DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. — Sennheiser sells a separate EM 2 DANTE receiver variant (three RJ45 network ports) for networked audio. Scales cleanly into multi-channel racks with BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. antenna distributionOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent..
The EW-DX 835-S is Sennheiser's answer to covering two vocalists from a single half-rackThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. unit — the EM 2 receiver pairs with two SKM-S handhelds loaded with the MMD 835 dynamic capsule, a mic element that engineers have trusted on touring stages for decades. It lives in the digital EW-DX ecosystem, which means the equidistant frequency grid does the heavy coordination work for you: up to 146 channels in standard mode, all manageable remotely through Sennheiser's Control Cockpit software over the rear RJ45. One rack unit, two channels, known-quantity capsules. That's a hard combination to argue with when you're building a vocal rig under space pressure.
At load-in, the practical details matter. The balancedCarries the signal on two wires and cancels whatever noise both pick up — why mic cables can run hundreds of feet hum-free. XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. outputs hit +18 dBuA voltage unit for analog signal levels — pro line level is +4 dBu. Useful for matching one box’s output to the next box’s input., which gives your console or stageboxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. plenty of headroomThe margin between your normal level and where things clip — headroom is what absorbs the snare hit you didn’t see coming. and noise margin on a long cable run — use those. The 1/4-inch outs are there if you need them, but at +12 dBu they're the fallback, not the first choice. The RJ45 port pulls PoEPower over Ethernet — the network cable powers the device (stage boxes, personal mixers, access points). One less wall-wart to lose. power if your switch delivers it, which can clean up DC cable management at the back of the rack, but understand that Ethernet here is control and power only — there is no DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. audio on this receiver. If your workflow depends on networked audio, Sennheiser makes a separate EM 2 DANTE variant with three network ports; this is not that unit. The BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. antenna inputs integrate cleanly into standard active antenna distributionOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent., so scaling to a multi-receiver rack is straightforward.
This unit earns its place in a touring or theater vocal rack where two handheld channels need to be reliable, compact, and remotely supervised without a complicated setup. The MMD 835 capsule has a well-documented character — present, relatively feedback-resistant — so monitor engineers walking onto an unfamiliar festival stage know what they're getting. Where it isn't the right call: if you need more than two channels per receiver slot and space is critical, look at four-channel receiver options. If your venue or tour runs a DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. audio network end-to-end, budget for the EM 2 DANTE variant from the start rather than planning to swap later. And if budget is the primary constraint, the older EW 300 or 500 G4 series still work well and come in at a lower price point.
In the rack
- Pair two EM 2 receivers side by side in a 1UThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. rack shelf — they're half-rack width and designed to sit flush together, giving you four vocal channels in a single rack unit with matching antenna BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. ports aligned at the rear for clean distribution cabling.
- If your PoEPower over Ethernet — the network cable powers the device (stage boxes, personal mixers, access points). One less wall-wart to lose. switch is on the same network as your show control, segment the EW-DX management traffic onto a dedicated VLANVirtual LAN — slicing one physical switch into separate isolated networks, like keeping Dante away from lighting and guest WiFi.; Control Cockpit chatter won't compete with show-critical data and you'll have a cleaner troubleshooting path if something drops.
- Run the XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. outputs to your stageboxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. or console — not the 1/4-inch outs — and gainHow much the preamp amplifies the incoming signal. Too low and you’re hunting through hiss; too high and peaks clip.-stage from the receiver's output trim before line checkThe quick pre-show pass confirming every input reaches the console, one line at a time. Not a soundcheck — just does it work.. The +18 dBuA voltage unit for analog signal levels — pro line level is +4 dBu. Useful for matching one box’s output to the next box’s input. headroomThe margin between your normal level and where things clip — headroom is what absorbs the snare hit you didn’t see coming. means you can trim conservatively and still have clean signal with no noise floorThe constant background hiss a device produces on its own. Everything you pass through it sits on top — lower is better. penalty.
- When building antenna distributionOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. for a multi-receiver rack, route the BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. runs before the receivers are racked and dress them with enough service loop to slide a unit forward for capsule swaps mid-show without pulling an antenna loose.
Standard 835-S set: EM 2 dual receiver + 2 SKM-S handhelds (MMD 835). PoEPower over Ethernet — the network cable powers the device (stage boxes, personal mixers, access points). One less wall-wart to lose. Ethernet is control-only — DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. requires the pricier EM 2 DANTE receiver variant. Up to 146 channels.
I/O Ports (9)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| XLR Out 1 | XLR MALE | output | analog audio | — |
| XLR Out 2 | XLR MALE | output | analog audio | — |
| 1/4" Out 1 | TS QUARTER | output | analog audio | — |
| 1/4" Out 2 | TS QUARTER | output | analog audio | — |
| Antenna A | BNC | input | antenna | — |
| Antenna B | BNC | input | antenna | — |
| Ethernet (PoE) | RJ45 | bidirectional | data | — |
| Headphones (front, 6.3mm) | TRS QUARTER | output | analog audio | — |
- Power (DC) (DC BARREL)
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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